THE  J.  PAUL  GETTY  MUSEUM  LIBRARY 


Digitized  by  the  Internet  Archive 
in  2019  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/collectionofwatcOOhowa 


. 


9 


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COLLECTION  OF  WATCHES 

BELONGING  TO 

MRS.  GEORGE  A.  HEARN 


39  GREGSON 
84  FRENCH 
38  ACHARD  &  SONS 


FRENCH  OR  SWISS 
BERTHOUD 


22 

37 


I  2 


CHEVALIER  &CO. 


27 


JOS  BLUMB 


COLLECTION  OF  WATCHES 

LOANED  TO 

THE  METROPOLITAN  MUSEUM 
OF  ART 

OF  THE  CITY  OF  NEW  YORK 

BY 

MRS.  GEORGE  A.  HEARN 


PRIVATELY  PRINTED 
MCMVII 


LjowARt),  Wendell  Stanton 

NN 

7^23 


THE  J.  PAUL  GETTY  MUSEUM  LIBRARY 


COLLECTION  OF  WATCHES 

BELONGING  TO 

MRS.  GEORGE  A.  HEARN 


THE  ILLUSTRATIONS  ARE 
FROM  PHOTOGRAPHS  MADE  EX¬ 
PRESSLY  FOR  THIS  CATALOGUE 
BY  MR.  CHARLES  BALLIARD 


51  SWISS 
24  MEURON  8c  CO. 


54 

SWISS 

55 

FRENCH 

OR  SWISS 

50 

BAUTTE 

&  CO. 

49  BORDIER 
69  GEORGE  PRIOR 


CONCERNING  TIME-KEEPERS 


HE  necessity  of  having  some  mechanism 


for  marking  the  passing  of  the  hours  has 


A  brought  into  existence  an  infinite  variety 
of  time-keepers,  and  this  variety  has  made  the 
collecting  of  clocks  and  watches  one  of  the  most 
interesting  fields  for  the  collector.  Since  men 
must  collect,how  fortunate  are  they  when  the  ob¬ 
jects  of  their  search  show  the  change  and  develop¬ 
ment  of  an  artistic  handicraft  through  a  course 
of  centuries. 

No  attempt  has  been  made  in  this  collection  to 
cover  the  field  of  watch-making;  on  the  one  hand 
the  desire  was  to  acquire  certain  examples  of 
pocket  time-keepers,  which  were  interesting  be¬ 
cause  of  the  artistry  which  had  been  lavished 
upon  them,  and  on  the  other  to  add  contrasting 
examples  of  early  craftsmanship. 

A  few  facts  as  to  the  history  of  time-keepers 
may  be  of  interest  in  this  connection.  Clep¬ 
sydrae  or  water-clocks  were  used  from  the  earliest 
times  by  the  ancient  Egyptians,  as  well  as  in  Baby- 


3 


Ion,  Judea  and  elsewhere.  These  were  basins 
from  which  water  trickled  drop  by  drop  into  a 
receiving  glass  having  marks  to  indicate  the  hours. 
Sun-dials  and  sand-glasses  too,  are  of  ancient 
origin,  but  the  weight-clock  with  which  we  are 
familiar  was  unknown  before  the  end  of  the  tenth 
century;  some  writers  even  place  its  origin  three 
centuries  later.  While  contradictory  records  ex¬ 
ist  as  to  the  invention  of  the  first  time-keeper  in 
the  form  of  an  assemblage  of  wheels  actuated  by 
weights,  Gerbert,  a  studious  monk  of  Magdeburg 
Cathedral,  is  generally  credited  with  the  contri¬ 
vance. 

The  first  portable  time-keepers  were  made  in 
Nuremburg  and  were  due  to  the  ingenuity  and 
skill  of  one  Peter  Henlein  or  Hele,  who  lived 
between  1480  and  1542.  His  invention,  which 
originated  shortly  after  1500,  employed  a  long 
steel  ribbon  tightly  coiled  around  a  central  spindle 
to  maintain  the  motion  of  the  wheels.  These 
portable  time-keepers  did  not  come  into  general 
use  for  a  long  time,  but  were  reserved  for  wealthy 
people  who  showed  a  fondness  for  the  novelty, 
which  at  first  took  the  form  of  table-clocks. 

The  very  earliest  watches  and  table-clocks  are, 
indeed,  similar  in  form,  showing  a  cylindrical  metal 
box,  chased  and  gilt,  with  a  hinged  lid,  engraved 
and  usually  pierced  to  show  the  figures  on  the  dial ; 
they  were  often  provided  with  a  bell  to  sound  the 
progress  of  the  hours.  Few  of  these  early  pro¬ 
ductions  bear  their  makers’  names.  Sometimes 


4 


an  initial  is  given,  and  occasionally  a  work-stamp 
appears  for  the  purpose  of  identifying  the  locality 
where  made.  Most  of  the  German  towns  adopted 
a  distinctive  trade  or  work-mark  which  appeared 
on  all  their  productions.  Thus  Nuremburg  chose 
the  letter  N  enclosed  in  a  circle,  Augsburg  used  a 
pineapple,  Mayence  a  wheel,  Breslau  a  W,  Bearn 
a  bear,  etc. 

The  term  watch  as  applied  to  a  time-keeper 
seems  to  have  been  derived  from  the  German 
wachen — to  wake — but  did  not  originally  have 
the  particular  significance  we  now  attach  to  it, 
for  the  term  watch,  clock  or  orloge  was  applied 
indifferently  and  equally  to  all  time-keepers. 
The  word  clock,  from  the  German  glocke  or  the 
French  cloche,  signifies  a  bell  and  its  use  may  have 
resulted  from  the  sounding  of  a  bell  at  regular 
intervals  by  hand,  the  time  of  sounding  being 
determined  by  a  sun-dial  or  hour-glass. 

Though  originating  in  Germany,  the  making  of 
time-keepers  soon  extended  to  France,  but  to-day 
examples  of  early  sixteenth  century  production, 
either  German  or  French,  are  exceedingly  rare. 
By  1590  watch-making  had  become  a  flourishing 
art  in  France  and  numerous  beautifully  orna¬ 
mented  time-keepers,  both  large  and  small,  were 
produced.  Still,  although  the  exterior  cases  were 
richly  ornamented,  the  interior  workmanship  on 
the  mechanism  was  exceedingly  rough.  While 
these  productions  were  imported  into  England, 
there  is  no  record  of  any  English  manufacture  of 


5 


watches  before  the  very  end  of  the  sixteenth  cen¬ 
tury,  though  it  is  known  that  Queen  Elizabeth 
possessed  a  large  number  of  watches,  many  being 
of  great  beauty  and  value,  which  were  given  her 
by  her  subjects  and  courtiers.  At  that  time 
watches  as  a  rule  were  not  carried  in  pockets. 
The  larger  ones  were  kept  on  tables,  the  smaller 
ones,  when  worn,  were  attached  to  chains  about 
the  neck.  Others  again  were  attached  to  brace¬ 
lets  as  were  many  belonging  to  Queen  Elizabeth. 
Only  with  the  Puritans,  who  were  opposed  to  the 
display  of  any  ornament  whatever,  came  the 
fashion  of  concealing  the  watch  in  the  pocket  and 
the  introduction  of  the  fob,  which  derived  its 
name  from  the  German  word  fuppe  signifying  a 
small  pocket.  This  fashion  has  continued  ever 
since,  and  at  the  latter  part  of  the  eighteenth  cen¬ 
tury  it  was  customary  for  the  exquisites  of  the  day 
to  wear  two  watches  with  suspended  fobs. 

With  the  fondness  for  exercising  their  handi¬ 
craft  which  marked  the  metal  workers  of  the  six¬ 
teenth  and  seventeenth  centuries,  few  of  the  cases 
of  these  portable  time-keepers  remained  plain, 
all,  whether  small  or  large,  showing  more  or  less 
decoration.  The  cases  were  generally  pierced  in 
elaborate  patterns  and  richly  chased.  As  the  ex¬ 
travagance  in  dress  which  marked  the  reign  of 
Elizabeth  increased,  greater  variety  was  de¬ 
manded  in  the  color  and  decoration  of  ornaments, 
when  watches  enriched  with  colored  enamel 
were  mounted  in  rock  crystal  cut  in  forms  of 

6 


46  TRURY 


25 

FRENCH 

30 

FRENCH 

OR 

SWISS 

26 

CLARY 

43  SWISS 

28 

FRENCH 

OR 

SWISS 

32  FRENCH  OR  SWISS 


crosses,  stars,  skulls  and  other  shapes.  These 
decorated  toys  mostly  came  from  France,  Blois 
being  the  seat  of  manufacture.  Several  time¬ 
keepers  of  this  fashion,  though  of  later  date  and 
coming  from  Vienna,  are  to  be  found  in  this  col¬ 
lection  under  the  numbers  74  and  75.  However, 
the  seventeenth  century  brought  the  greatest 
variety  in  the  form  of  the  watches  as  well  as 
in  their  decoration,  the  greatest  ingenuity  being 
shown  in  varying  the  external  appearance  of 
these  fashionable  novelties.  It  is  interesting  to 
recall  the  fact  that  the  dealers  who  made  and 
sold  them  were  designated  as  “toymen.” 

The  earliest  watches  had  but  a  single  case;  but 
when  the  cases  became  more  enriched  by  enamel¬ 
ing  and  costly  jewels,  and  since  watch  glasses 
were  not  used  before  the  seventeenth  century, 
many  watches  to  protect  their  decorations  were 
provided  with  several  cases,  one  outside  another. 
These  outer  cases  were  sometimes  of  metal,  some¬ 
times  of  wood,  or  tortoise-shell,  amber,  shagreen  or 
of  combinations  of  more  than  one  of  these  ma¬ 
terials.  As  time  went  on  the  makers  began  to 
ornament  these  outer  cases,  and  we  find  shagreen 
bound  with  chased  gold,  tortoise  shell  pique,  and 
wood  cases  delicately  painted  with  pictures  or 
flowers.  In  number  64  of  this  collection  we  have 
both  the  outer  and  the  inner  cases  beautifully 
enameled,  the  same  design  being  repeated  on 
both.  At  the  end  of  the  eighteenth  century  loose 
outer  cases  of  gold  with  designs  chased  en  repousse 


7 


came  into  fashion,  and  became  an  important 
art  in  watch-making.  A  number  of  such  outer 
cases  are  to  be  found  in  this  collection  in  numbers 
56,  57,  58,  59,  60  and  62.  Chasing  is  a  very  an¬ 
cient  art,  and  is  to  be  distinguished  from  engraving 
in  that  instead  of  cutting  away  the  material,  it  is 
brought  into  relief  by  punching  or  pressing  from 
the  back  to  form  the  ornament.  In  some  of  these 
cases  may  be  found  a  combination  of  both  chasing 
and  engraving  for  ornamental  embellishment, 
while  a  combination  of  chasing  and  enamel  is 
quite  frequent. 

Enameling  as  employed  on  watch  cases  is  of 
several  kinds;  for  example  in  number  61  may  be 
seen  a  fine  watch  by  Wetherell  and  Janaway 
in  which  the  gold  case  is  enameled  with  a  trans¬ 
lucent  enamel  of  royal  purple  surrounded  by 
pearls.  This  style  of  enameling  was  much  in 
fashion  during  the  reign  of  Louis  XVI.  The 
actual  date  of  this  watch  is  about  1790. 

The  pictures  in  opaque  enamel  on  watch  cases 
were  often  the  productions  of  artists  of  note,  but 
few  of  these  occur  before  the  end  of  the  seven¬ 
teenth  century.  While  enamel  decoration  was 
used  before  the  middle  of  the  seventeenth  century, 
this  did  not  usually  take  the  form  of  pictures  but 
is  found  in  foliations  and  arabesque  patterns; 
in  fact  the  process  of  painting  in  opaque  enamel 
on  watches  was  only  discovered  about  1635,  and 
was  the  invention  of  John  Petitot,  a  native  of 
Geneva,  who  won  success  as  a  miniature  painter. 

8 


For  some  time  this  mode  of  decoration  was  con¬ 
fined  to  French  artists,  a  number  of  whom  greatly 
excelled  in  it.  As  examples  of  particular  ex¬ 
cellence  in  this  line  attention  is  invited  to  num¬ 
bers  2,  8,  9,  io,  ii,  13,  15,  25  and  26. 

In  numbers  5,  6  and  7  we  have  examples  of 
engraving  of  an  exceptional  style  giving  the  effect 
of  the  niello  work  of  the  Italians.  In  these 
watches,  made  by  Lepine,  watchmaker  to  Louis 
XV,  the  contrast  of  light  and  dark  is  secured  by 
rubbing  in  preparations  of  lead  and  silver.  This 
method  brings  out  the  design  of  the  engraving  and 
produces  a  beautiful  decoration  with  the  ap¬ 
pearance  of  enamel. 

What  is  known  as  engine-turning  is  so  familiar 
a  form  of  decoration  as  to  need  no  illustration. 
It  is  an  intricate  series  of  repeating  lines  in  curves 
that  was  introduced  as  a  decoration  for  watch 
cases  about  1770  by  a  Geneva  watchmaker  to 
overcome  the  tendency  to  show  scratches,  and  is 
very  popular  with  modern  watch-makers. 

Repeating  watches,  a  number  of  examples  of 
which  are  included  in  the  collection,  came  into 
existence  in  the  last  quarter  of  the  seventeenth 
century  in  England  in  the  time  of  James  II. 
They  were  made  to  repeat  the  hours  and  quarter 
hours,  on  a  bell,  by  pushing  a  pin  in  the  pendant. 
Applications  for  a  patent  for  the  device  were  made 
by  two  different  watch-makers,  and  to  test  the 
superiority  of  each  maker’s  claim,  repeating 
watches  were  presented  to  the  king.  There  will 


9 


also  be  found  here  repeating  watches  of  large  size 
with  mechanical  figures  such  as  numbers  33,  34, 
and  45.  These  were  popular  novelties  in  the 
latter  part  of  the  eighteenth  century  produced  by 
French  makers.  They,  like  the  richly  decorated 
number  21  or  number  22,  served  as  presentation 
watches  for  royal  visitors,  ambassadors  and  others 
at  court.  In  repeaters  like  numbers  34  and  45 
the  hours  and  quarter-hours  are  really  struck  on 
small  gongs  inside,  but  appear  to  be  struck  by 
the  figures  whose  hammers  are  set  in  motion 
against  the  suspended  bells  at  the  top  of  the  dial. 
In  number  33  the  spit  before  the  fire  revolves, 
as  well  as  the  squirrel  in  the  cage  on  the  wall, 
and  the  seated  woman  vigorously  chops  away  at 
what  may  be  in  the  chopping  bowl  on  her  lap. 

The  various  forms  of  mandolins,  butterflies, 
beetles,  lyres,  etc.,  like  most  of  the  small  toy 
watches,  are  of  French  origin  and  belong  to  the 
nineteenth  century.  They  show  beautiful  enam¬ 
eling  and  are  often  enriched  with  jewels,  serving 
as  handsome  gifts.  In  fact  it  has  become  the 
fashion  with  French  watch-makers  in  their  search 
for  novelty  to  insert  watches  in  fans,  umbrella 
handles,  smelling  bottles,  walking  sticks  and 
wherever  a  place  can  be  found  for  them. 

While  it  is  not  possible  to  take  special  note  of 
watch-makers  in  this  connection,  their  names 
being  given  when  possible  in  the  catalogue  added, 
attention  may  be  called  to  Breguet,  the  most 
eminent  of  Continental  watch-makers  of  his  time, 


10 


36 

FRENCH 

OR 

SWISS 

35 

FRENCH 

OR 

SWISS 

29 


FRENCH  OR  SWISS 


48 


CO URVOISI ER  &CO. 


who  is  represented  here  by  several  numbers. 
Breguet  lived  between  1746  and  1823  and  was  a 
man  of  brilliant  powers  of  invention.  Everything 
he  produced  bore  the  stamp  of  originality  and 
whatever  defect  was  pointed  out  to  him,  or  what¬ 
ever  whim  of  patron  was  suggested,  he  was  ready 
to  meet  the  requirement,  and  his  productions  re¬ 
main  as  models  of  inventive  ingenuity  and  taste. 
The  majority  of  his  watches  had  plain  exteriors, 
the  dials  as  a  rule  being  either  of  silver  or  white 
enamel  and  often  very  novel.  After  his  death 
he  was  succeeded  by  his  son,  and  later  by  a 
grandson  who  maintained  the  reputation  of  the 
house. 

Other  eminent  French  watch-makers  repre¬ 
sented  are  Pierre  Gregson,  who  received  the 
coveted  title  of  Horloger  du  Roy  from  Louis 
XVI.;  Jean  Antoine  Lepine,  who  was  watch¬ 
maker  to  Louis  XV.;  Julien  Le  Roy,  who  was 
patronized  by  the  same  monarch;  J.  Baptiste 
Baillou,  and  Ferdinand  Berthoud,  who  was 
perhaps  the  most  scholarly  of  all.  Berthoud, 
who  lived  between  1745  and  1807,  wrote  much 
on  the  horological  art  and  was  thoroughly  in¬ 
formed  as  to  its  history  and  all  the  inventions 
and  improvements  which  had  been  accomplished 
up  to  his  time. 

In  England  to  be  chosen  master  by  the  Clock- 
makers’  Company  was  an  honor  highly  esteemed 
by  native  artisans. 

Some  reference  should  be  made  here  to  certain 


marks  stamped  on  watch  cases  of  gold  and  silver 
to  guarantee  the  quality  of  the  metal  and  known 
as  “Hall-marks.”  These  stamps  are  impressed 
after  the  test  of  the  quality  has  been  made  at 
certain  official  Assay  Halls.  In  Great  Britain  the 
marks  are  compulsory  and  consist  of  several  im¬ 
pressions  in  separate  shields.  By  means  of  them 
the  careful  collector  is  enabled  to  determine  not 
only  the  quality  of  the  metal,  but  also  the  ap¬ 
proximate  date  of  manufacture,  as  well  as  the 
particular  hall  at  which  the  metal  was  assayed. 
These  marks  are  of  the  greatest  variety  and  in¬ 
terest  and  cannot  be  disregarded.  Repousse 
cases  were  exempt.  The  use  of  such  marks 
was  not  compulsory  with  Continental  makers. 

Since  only  the  artistic  side  of  the  subject  was 
considered  in  making  this  collection,  only  those 
watches  were  selected  for  illustration  which 
showed  artistic  embellishment,  but  examination 
of  the  objects  individually  will  reveal  the  great¬ 
est  diversity  both  in  style  and  craftsmanship. 
Most  of  them  were  purchased  from  European 
collections  which  delicacy  forbids  naming. 

In  making  the  list  chronological  order  was 
followed  as  nearly  as  possible,  and  it  was  also 
thought  advisable  to  separate  the  makers  ac¬ 
cording  to  their  different  nationalities  in  order  to 
further  assist  the  amateur  in  their  examination. 

W.  S.  H. 


CATALOGUE 


61  RIVERS 


59  WINDMILL 
66  POTTER 


60  M  I  LLER 


CATALOGUE 

FRENCH 

ARTHUR,  A  PARIS. 

1  Octagonal  watch  with  crystal  and  metal 
mounts  enameled  in  conventional  patterns, 
with  scrolls  and  pierced  edges;  enameled 
dial.  Early  eighteenth  century. 

“Arthur,  un  des  plus  renommes  et  des  plus 
a  la  mode  pour  les  montres  a  repetition.” 
Horlogers  de  Paris  cites  dans  L’Almanach 
Dauphin. 

J.  BAPTISTE  BAILLON,  A  PARIS. 

2  Gold  watch,  chased  border  of  vari-colored 
gold,  the  back  encircled  with  pearls,  enclos¬ 
ing  a  painted  pastoral  love  scene.  Middle 
of  eighteenth  century. 

Jean  Baptiste  Baillon,  Horloger  du  Roy. 

JULIEN  LE  ROY,  A  PARIS. 

3  Small  gold  watch,  the  border  encircled  and 
the  hands  mounted  with  sparks,  the  back 
with  a  cartouche  of  chased  vari-colored  gold 


IS 


and  sparks,  enclosing  a  portrait  of  a  lady 
painted  in  colored  enamel. 

Julien  Le  Roy,  born,  1686;  master-clock- 
maker,  1713;  died,  1759.  Horlogerdu  Roy. 

JEAN  ANTOINE  LEPINE,  A  PARIS. 

4  Gold  watch,  bordered  with  chasing  of  leaf 
pattern  having  pendant  and  thumb-piece 
jeweled;  the  back  of  green  enamel  set  with 
a  canopy  of  sparks  and  vari-colored  gold 
with  a  Cupid  in  the  centre.  Lepine  (1720- 
1814),  watchmaker  to  Louis  XV. 

JEAN  ANTOINE  LEPINE. 

5  Thin  gold  watch,  the  dial  decorated  with  a 
scroll  pattern  in  vari-colored  gold  on  a  silver 
engine-turned  background,  with  opening 
for  “flirting”  the  hour;  the  back,  borders  and 
pendant  of  niello. 

JEAN  ANTOINE  LEPINE. 

6-7  Thin  gold  watches,  with  engine-turned 
silver  dials,  the  backs,  borders  and  pendants 
of  niello  enamel  in  conventional  leaf  pat¬ 
terns,  with  white  enamel  flowers  and  scrolls. 

B.  HUBERT  A  LA  ROCHELLE. 

8  Metal  pendulum  watch,  gilt,  plain  case;  rich¬ 
ly  engraved  cap  over  balance,  gilt  dial  with 
enameled  hour  plaques.  Early  eighteenth 
century. 

16 


PIERRE  GREGSON,  A  PARIS. 

9  Gold  watch,  with  border,  pendant  and  back 
enameled;  the  latter  showing  a  female  figure 
and  Cupid,  with  classic  temple  on  a  back¬ 
ground  of  dark  translucent  blue.  Pierre 
Gregson,  Horloger  du  Roy,  Louis  XVI. 

PIERRE  GREGSON. 

10  Gold  watch,  bordered  with  pearls,  the  back 
enameled  with  a  pastoral  scene  on  a  light 
blue  ground. 

BERTHOUD  A  PARIS. 

1 1  Gold  repeating  watch,  skeleton  dial,  with  two 
figures  in  vari-colored gold, striking  on  bells; 
the  hour  figures  on  a  circle  of  white  enamel; 
plain  back.  Early  nineteenth  century. 

FERDINAND  BERTHOUD,  A  PARIS. 

12  Gold  watch  with  borders  of  chased  vari¬ 
colored  gold,  jeweled;  the  back  enameled  in 
color  showing  a  lady  and  Cupid  in  a  land¬ 
scape  on  a  ground  of  translucent  rose. 
Early  nineteenth  century. 

Ferdinand  Berthoud,  born  1745;  died  1807. 

ABRAHAM  LOUIS  BREGUET,  A  PARIS. 

13  Gold  watch  with  enameled  borders  back  and 
front;  painted  pastoral  scene  in  centre  of 
back.  Abraham  Louis  Breguet,  born  1747, 
died  1823;  a  French  watchmaker  of  rare  at¬ 
tainments  and  inventive  power. 


ABRAHAM  LOUIS  BREGUET,  A  PARIS. 

14  Gold  watch,  the  sides  and  back  decorated 
with  a  conventional  chased  pattern  of  vari¬ 
colored  gold. 

ABRAHAM  LOUIS  BREGUET,  A  PARIS. 

15  Gold  watch,  encircled  with  pearls,  back  and 
front;  the  back  enameled  with  a  picture  of 
Venus  and  Cupid  in  a  landscape  on  a  dark 
blue  ground  of  rayed  translucent  enamel 
within  a  cartouche  of  pearls  (the  back 
damaged  and  restored). 

ABRAHAM  LOUIS  BREGUET,  A  PARIS. 

16  Gold  watch  encircled  with  pearls  front  and 
back;  the  latter  enameled  with  a  landscape 
painted  on  a  rose  ground  rayed. 

ABRAHAM  LOUIS  BREGUET,  A  PARIS. 

17  Gold  watch,  paneled  edges,  with  a  border  of 
enamel;  the  back  enameled  with  a  pastoral 
scene,  woman  and  lambs  in  a  landscape  on  a 
rose  ground. 

ABRAHAM  LOUIS  BREGUET,  A  PARIS. 

18  Thin  gold  watch,  with  engine-turned  silver 
dial  with  rays;  the  back  showing  a  conven¬ 
tional  leaf  pattern  in  niello  with  white  enam¬ 
eled  flowers. 

ABRAHAM  LOUIS  BREGUET,  A  PARIS. 

19  Gold  repeating  watch  with  engine-turned 
face  and  back. 


18 


16  br£guet  15  br£guet  13  br£guet 


ABRAHAM  LOUIS  BREGUET,  A  PARIS. 

20  Etui  of  bloodstone  mounted  with  pierced 
gold  scrolls  and  figures.  At  one  end  a  small 
watch  by  Breguet,  encircled  with  sparks; 
the  mid-band  shows  a  motto  in  gold  on 
white  enamel:  “Dieu  toujours  avec  vous.” 

BLAINVILLE,  A  ROUEN. 

21  Plain  gold  calendar  watch,  the  dial  dec¬ 
orated  with  a  female  figure  and  foliage  of 
applied  vari-colored  gold  on  silver,  between 
three  dials  in  white  enamel.  Late  eigh¬ 
teenth  century. 

JOSEPH  BLUMB,  A  GERMAINE. 

22  Metal  watch,  the  back  enameled  with  a 
group  of  figures  and  classic  temple  on  a 
dark  blue  ground.  Late  eighteenth  cen¬ 
tury. 

LEGER,  A  PARIS. 

23  Small  gold  watch,  encircled  both  back  and 
front  with  pearls;  the  edge  shows  a  wreath 
of  chased  gold  with  green  enamel  set  with 
small  garnets  and  pearls;  the  back  enameled 
with  a  painted  panel  of  a  lady  and  dog  on  a 
lavender  ground.  Late  eighteenth  century. 

meuron  &  co. 

24  Gold  watch,  repeater;  the  case  bordered 
with  pearls  and  edges  paneled;  the  back 


19 


enameled  with  a  painted  outdoor  scene 
“Music,”  on  a  rose  ground  surrounded  with 
a  lunette  of  colored  enamel  in  conventional 
patterns.  Late  eighteenth  century. 

NO  NAME. 

25  Gold  watch,  the  dial  of  gold,  engine-turned, 
with  border  of  applied  vari-colored  gold 
and  silver;  the  back  and  sides  of  a  conven¬ 
tional  leaf  pattern,  also  in  vari-colored  gold, 
set  with  rubies  and  turquoises.  Early 
nineteenth  century. 

FRENCH  OR  SWISS 

CLARY. 

26  Gold  watch,  the  face  bordered  with  a  ribbon 
with  pearls,  on  a  background  of  blue  enamel; 
the  back  enameled  with  a  portrait  of  a  lady 
on  a  white  ground,  with  a  table  and  bas¬ 
ket  of  flowers  in  enamel,  studded  with  pearls. 
Late  eighteenth  century. 

NO  NAME. 

27  Gold  watch,  the  edges  chased  with  a  wreath 
of  vari-colored  gold;  the  back  enameled 
with  picture  of  a  huntsman  and  dog  on  a 
pink  ground,  in  an  oval,  bordered  with  dark 
blue  with  colored  edging.  Late  eighteenth 
century. 

NO  NAME. 

28  Gold  watch,  encircled  with  two  rows  of 


20 


BAILLON  7  LUPINE  3  LE  ROY" 


pearls  back  and  front;  the  back  painted 
with  two  female  figures  before  a  bust  on  a 
pedestal  under  a  willow  tree;  all  on  a  white 
background,  rayed.  Late  eighteenth  cen¬ 
tury. 

NO  NAME. 

29  Gold  watch,  plain  back;  the  face  with  two 
enameled  dials  on  a  white  background  show¬ 
ing  a  landscape,  deer,  birds,  etc.,  the  lower 
dial  with  the  hour  figures  of  gold  on  a  circle 
of  blue  enclosing  dial  with  days  of  month; 
the  upper  with  an  enameled  plaque  showing 
Adam  and  Eve,  the  serpent  revolving  to 
mark  the  seconds.  Late  eighteenth  cen¬ 
tury. 

NO  NAME. 

30  Gold  watch,  the  dial  bordered  with  a  chased 
band  of  leaf  and  flower  pattern  set  with  tur¬ 
quoises;  the  back  with  a  similar  band,  the 
centre  showing  a  conventional  leaf  and  rose 
pattern  in  vari-colored  gold  studded  with  a 
ruby  and  turquoises.  Late  eighteenth  cen¬ 
tury. 

NO  NAME. 

3 1  Gold  watch,  dial  of  gold,  engine-turned,  with 
border  chased  with  leaves  between  pearls; 
on  the  back  a  similar  border  between  tur¬ 
quoises;  the  centre  shows  a  conventional 
flower  and  fruit  pattern  in  vari-colored  gold 

21 


studded  with  turquoises.  Early  nineteenth 
century. 

NO  NAME. 

32  Gold  watch,  the  dial  of  silver,  engine-turned, 
with  border,  pendant  and  ring  of  chased 
leaves  and  roses;  the  back  with  a  similar 
border,  the  centre  decorated  with  flower 
painting  and  butterfly  on  a  black  enameled 
ground.  Early  nineteenth  century. 

NO  NAME. 

33  Gold  watch,  dial  of  engine-turned  and  en¬ 
graved  gold  with  white  enameled  hour 
panels,  encircled  with  pearls;  the  back  with 
a  border  of  pearls  shows  painted  enameled 
scene  of  child,  etc.;  wreath  below,  on  a 
ground  of  dark  green,  rayed.  Early  nine¬ 
teenth  century. 

NO  NAME. 

34  Small  gold  watch,  plain  back  and  dial  bor¬ 
dered  with  pearls.  Early  nineteenth  cen¬ 
tury. 

NO  NAME. 

35  Gold  repeating  watch,  open  back  showing 
kitchen  scene  in  vari-colored  metal  and  en¬ 
amel  with  mechanical  spit,  wheel  and  figure. 
Early  nineteenth  century. 


22 


NO  NAME. 

36  Gold  repeating  watch,  engine-turned  back, 
with  rays  from  circle  enclosing  shield;  skele¬ 
ton  dial,  with  two  figures  in  vari-colored 
gold,  striking  on  silver  bells;  the  hour  fig¬ 
ures  on  a  circle  of  white  enamel;  the  upper 
plate  of  works  gilt  and  diapered.  Early 
nineteenth  century. 

SWISS 

CHEVALIER  &  COMPE. 

37  Gold  watch,  bordered  on  both  sides  with 
pearls  between  bands  of  blue  enamel;  the 
back  of  painted  enamel  showing  a  lady 
and  lap-dog,  on  a  ground  of  dark  trans¬ 
lucent  wavy  blue.  Geneva,  middle  of  eigh¬ 
teenth  century. 

GEORGE  ACHARD  &  FILS. 

38  Gold  repeating  watch  bordered  on  both  sides 
with  pearls,  the  back  enameled  with  a  clas¬ 
sic  scene  in  rich  colors  on  a  background  of 
dark  blue  studded  with  sparks.  Geneva, 
late  eighteenth  century. 

GREGSON  A  GENEVE. 

39  Gold  watch,  the  face  bordered  and  the 
hands  studded  with  sparks;  the  back  enam¬ 
eled  with  a  classic  scene  in  an  oval  of  sparks, 
on  a  background  of  rayed  blue;  outside  a 
floral  pattern  in  white  enamel  and  sparks. 
Late  eighteenth  century. 

23 


J.  C.  SCHERER,  A  GENEVE. 

40  Metal  watch,  the  face  once  bordered  with 
jewels;  the  back  decorated  with  a  pastoral 
scene  in  painted  enamel  within  a  border  of 
blue  and  gold.  Late  eighteenth  century. 

LES  FRERES  WISS,  A  GENEVE. 

41  Metal  watch,  repeater;  edges  and  back 
chased  with  diaper,  flower  and  leaf  pattern, 
basket  of  fruit,  etc.,  in  vari-colored  gilding. 
Late  eighteenth  century. 

FRE’s  DE  ROCHES,  A  GENEVE. 

42  Metal  watch,  gilt;  enameled  scene  on  back 
showing  girl  and  dog,  surrounded  with  sparks 
and  enamel  ;  white  enameled  dial  surround¬ 
ed  with  sparks.  Late  eighteenth  century. 

NO  NAME. 

43  Thin  gold  watch,  the  dial  of  silver,  engine- 
turned,  with  opening  for  changing  the  hour 
figures;  the  back  engine-turned.  Swiss. 
Late  eighteenth  century. 

NO  NAME. 

44  Metal  watch,  the  back  of  painted  enamel 
showing  two  figures  in  a  landscape,  on  a 
lunette  of  dark  translucent  blue  with  leaf 
pattern.  Swiss.  Late  eighteenth  century. 

BURKHARDT  &  BRANDT,  CHAUX-DE-FONDS. 

45  Small  gold  watch,  silver  dial  engraved  in 
“  bright  cut  ”  flower  pattern ;  the  back  of  flat 


24 


12  BERTHOUD 

65  WETHER  ELL  &  JAN  E WAY  45  BUR K H ARDT  &  BRANDT 


14  BREGUET 


42 


FRERES  DE  ROCHES 


chasing,  with  scrolls  and  flowers.  Swiss. 
Early  nineteenth  century. 

TRURY,  A  GENEVE. 

46  Thin  gold  watch,  the  dial  of  gold  with  centre 
chased  with  floral  pattern;  the  back  chased 
and  filled  with  painted  enamel,  showing  a 
lake  scene,  bird  of  paradise,  flowers,  etc. 
Early  nineteenth  century. 

JOHN  SIEGRIST  &  CIE.  CHAUX-DE-FONDS. 

47  Thin  metal  watch,  hunter  case  of  silver, 
decorated  with  blue  enamel  showing  a  con¬ 
ventional  scroll  and  flower  pattern;  the  dial 
of  white  enamel  with  Turkish  numerals. 
Swiss.  Early  nineteenth  century. 

COURVOISIER  &  COMPE. 

48  Gold  repeating  watch,  white  enameled  dial 
surrounded  by  figures,  foliage,  etc.,  in  vari¬ 
colored  gold,  striking  silver  bells,  all  on  dark 
blue  enamel;  plain  back.  Geneva.  Nine¬ 
teenth  century. 

BORD1ER,  A  GENEVE. 

49  Gold  mandolin  watch,  case  of  ivory  white 
and  blue  enamel,  with  gold  flower  pattern, 
strings,  chains,  etc.  Early  nineteenth  cen¬ 
tury. 

J.  F.  BAUTTE  &  CIE.  A  GENEVE. 

50  Gold  mandolin  watch,  the  front  enameled 

25 


in  color  with  figures  and  landscape;  the 
back  in  red,  green,  and  white  enamel  in 
stripes  with  gold  scroll  pattern.  About 
1825. 

NO  NAME. 

51  Gold  mandolin  watch,  the  front  enameled 
in  dark  blue,  with  pearls  at  end  of  strings; 
the  back  in  red  translucent  and  black  enamel 
with  gold  flower  pattern.  Geneva.  Early 
nineteenth  century. 

MODGE. 

52  Gold  pendant  watch  of  filigree  with  panels  of 
dark  blue  with  colored  and  white  enamel, 
and  studded  with  pearls  and  sparks;  the 
dial  bordered  with  blue  enamel,  the  back 
with  tree,  plant,  birds,  etc.,  on  dark  blue 
with  pearls  and  sparks.  French  or  Swiss. 
Nineteenth  century. 

NO  NAME. 

53  Gold  watch  in  the  form  of  a  lyre,  the  base 
forming  a  seal;  the  frame  chased  with  leaf, 
flower  and  fruit  decoration  of  vari-colored 
gold,  set  with  jewels;  the  dial  of  white 
enamel,  dotted  with  fleur-de-lys,  the  back 
open,  showing  the  bracket  only,  bordered 
with  pearls.  French  or  Swiss.  Nineteenth 
century. 

NO  NAME. 

54  Gold  watch  in  closed  case  in  form  of  a  drum; 

26 


! 


8 


HUBERT 


8 


H  UBERT 


the  bottom  a  mirror,  the  side  diapered  in 
blue  and  black  enamel;  the  top  with  a 
feather  pattern  on  a  rich  brown  enamel, 
rayed.  French  or  Swiss.  Nineteenth  cen¬ 
tury. 

NO  NAME. 

55  Gold  watch  set  in  a  beetle  chased,  with  jew¬ 
eled  eyes  and  richly  enameled  wings  of 
translucent  red  with  black  spots.  French 
or  Swiss.  Nineteenth  century. 

NO  NAME. 

56  Gilt  watch  and  chatelaine  enameled  in  colors 
in  high  relief,  with  leaf  and  flower  work, 
French  or  Swiss.  Nineteenth  century. 

ENGLISH 

WALTER,  LONDON. 

57  Silver  watch,  triple  case,  outer  of  tortoise¬ 
shell;  inner  chased  with  scrolls  and  flowers, 
with  painted  enamel  in  centre  showing  Dutch 
peasants;  white  enameled  dial  with  minute 
band  of  wavy  curves,  the  centre  of  colored 
enamel  with  Dutch  town  scene.  Late 
seventeenth  century. 

WILLIAM  WEBSTER,  EXCHANGE  ALLEY;  dial 

58  marked  renaud,  London. 

Silver  watch,  repeater,  double  case;  outer 
of  tortoise-shell  pique;  inner  has  the  sides 
pierced  with  scroll-work;  silver  dial,  pierced 


27 


centre.  William  Webster,  Master  of  the 
Clockmakers’  Company,  1755. 

WINDMILL,  LONDON. 

59  Gold  watch,  double  case;  outer  chased  with 
scrolls  and  emblems,  a  pastoral  scene  in  the 
centre;  gold  dial  with  minute  band  of  wavy 
curves.  Early  eighteenth  century. 

THOMAS  MILLER,  LONDON. 

60  Gold  watch,  double  case;  outer  chased  with 
scroll-work,  enclosing  a  Biblical  scene  (Paul 
before  Festus?).  Date  letter,  1762. 

W.  RIVERS,  LONDON. 

61  Gold  watch,  triple  case;  outer  of  shagreen 
pique;  inner  chased  with  scrolls  and  flowers, 
a  classic  scene  in  the  centre;  white  enameled 
dial  with  wavy  minute  band;  Date  letter, 
1770.  William  Rivers,  Master  of  the  Clock- 
makers’  Company,  1794. 

WILTER,  LONDON. 

62  Gold  watch,  double  case;  outer  chased  and 
enameled  with  a  music  scene;  inner  case 
plain;  white  enameled  calendar  dial,  with 
minute  band  of  wavy  curves.  Last  half  of 
eighteenth  century. 

J.  TARTS,  LONDON. 

63  Gold  watch,  double  case;  outer  chased  with 
scrolls  and  flowers  enclosing  a  classic  scene; 
jeweled  thumb-piece;  gold  dial  with  minute 

28 


band  of  wavy  curves,  the  centre  a  pierced 
panel  showing  “Apollo  driving  the  chariot 
of  the  Sun,”  below  the  name-plate.  Date 
letter,  1774. 

C.  HALLIFAX,  LONDON. 

64  Gold  watch,  triple  case;  outer  of  shagreen 
pique  and  horn;  inner  chased  with  scroll¬ 
work  enclosing  a  Biblical  scene  (Paul  before 
Festus?);  white  enameled  dial  with  minute 
band  of  wavy  curves.  Date  letter,  1783. 

WETHERELL  &  JANAWAY,  LONDON. 

65  Gold  watch,  the  case  encircled  on  both  sides 
with  pearls;  the  back  of  purple  translucent 
enamel,  rayed,  with  a  centre  cartouche  of 
an  opal  set  in  sparks.  Late  eighteenth 
century.  (1785-1794.) 

HARRY  POTTER,  LONDON. 

66  Gold  watch,  triple  case;  outer  of  shagreen 
pique;  inner  chased  with  scrolls  and  flowers, 
enclosing  a  Biblical  scene  in  high  relief, 
pierced;  plain  white  enameled  dial  with 
jeweled  hands  and  wavy  minute  band. 
Date  letter,  1791.  Harry  Potter  Master  of 
the  Clockmakers’  Company,  1795  and  1812. 

WILLIAM  TRAVERS,  LONDON. 

67  Metal  repeating  watch,  double  case;  outer 
chased  with  pierced  scroll  work,  the  front 
jewelled;  pastoral  scene  on  the  back  in  col- 

29 


ored  enamel,  surrounded  with  pearls;  inner 
case  chased  and  engraved  with  scrolls  and 
flowers  with  pierced  side;  white  enameled 
dial  with  center  seconds  hand.  Early  nine¬ 
teenth  century. 

SAMSON,  LONDON. 

68  Silver  watch,  double  case;  outer  of  tortoise¬ 
shell  pique  with  painted  marine  scene  on  the 
back;  plain  inner  case,  white  enameled  dial 
with  wavy  minute  band,  a  garden  scene 
painted  in  the  centre.  Date  letter,  1794. 

GEORGE  PRIOR,  LONDON. 

69  Gold  watch,  repeater,  triple  case;  the  outer 
and  middle  ones  scalloped  all  around  where 
the  halves  meet;  the  three  cases  beautifully 
enameled  with  flower  decoration;  the  inner 
case  pierced;  jeweled  pendant;  white  enam¬ 
eled  dial  marked  with  Turkish  numerals. 
Date  letter,  1812. 

GRAYHURST,  HARVEY  &  CO.,  LONDON. 

70  Gold  watch,  encircled  on  both  sides  and 
the  pendant  covered  with  pearls;  the  back 
painted  with  flowers  on  a  background  of  red 
translucent  rayed  enamel;  the  cap  richly  en¬ 
graved  with  scrolls,  etc.  Date  letter,  1819. 

GERMAN 

NICODEMUS  BRATEL,  AUGSBURG. 

71  Silver  watch,  double  case;  outer  chased 


30 


53  FRENCH  OR  SWISS 

56  FRENCH  OR  SWISS  33  FRENCH  OR  SWISS 

52  MODGE 


with  scroll  and  flower  pattern,  the  centre 
filled  with  a  colored  enamel  bust  of  Diana; 
the  inner  case  plain;  the  dial  of  silver;  the 
minute  band  in  a  series  of  wavy  curves;  the 
lower  part  pierced  to  show  the  days  of  the 
month  on  a  gilt  band.  Modern  bracket. 
Early  eighteenth  century. 

JOSEPH  FLEIGL,  A  STADT-AM-HOF. 

72  Silver  watch,  repeater;  double  case;  outer 
of  tortoise-shell,  pierced  in  small  circles; 
the  inner  engraved  in  the  centre  and  around 
the  side,  which  is  pierced;  dial  (modern)  of 
white  enamel,  marked:  Joh.  Riel  in  Stadt- 
amhof.  Late  eighteenth  century. 

BUJARD  &  CO.  A  PFORZHEIM. 

73  Watch  set  in  cane  handle  of  Dresden  china 
decorated  in  color  with  landscape,  men  and 
dogs;  the  works  set  in  metal  mounts  chased 
and  gilt;  plain  white  enameled  dial.  Late 
eighteenth  century. 

AUSTRIAN 

JO!  ANTHONY  BEXINGER,  SALZBURG. 

74  Silver  repeating  watch,  double  case;  outer  is 
chased  with  a  garden  scene  in  a  cartouche, 
with  scrolls  at  sides  pierced;  inner,  engraved 
with  masks  and  scrolls,  pierced;  dial  of 
silver  with  central  revolving  hour-disk,  the 
minute  band  formed  in  a  series  of  wavy 
curves.  Late  seventeenth  century.  Silver 

3i 


chain  with  three  pendant  keys  of  the  eigh¬ 
teenth  century. 

FREDERICA  MITTCKE,  VIENNA. 

75  Oval  metal  watch  with  octagonal  crystal 
faces;  the  dial,  pendant  and  sides  enameled 
in  color  in  conventional  patterns.  Eigh¬ 
teenth  century.  Case  of  later  date. 

NO  NAME. 

76  Metal  watch  with  closed  case,  enameled  in¬ 
side  and  out;  outside  with  scenes  of  gallant¬ 
ry,  inside  with  landscape;  the  metal  frame 
engraved  with  a  diaper  and  running  pattern 
on  the  inside.  Vienna.  Late  eighteenth 
century. 

NO  NAME. 

77  Oval  gold  watch  with  closed  case  enameled 
on  both  sides;  outside  and  the  dial  with 
classic  scenes;  inside  with  buildings  and 
landscape;  the  dial  frame  engraved  with 
scroll  work.  Vienna.  Nineteenth  century. 

JOHAN  GOTTLIEB  MULLER,  VIENNA. 

78  Gold  watch  with  close  shell-shaped  case, 
enameled  in  color,  with  gold  suspending 
chain;  plain  white  enameled  dial.  Nine¬ 
teenth  century. 

LITSKEN,  IN  WIEN. 

79  Large  cruciform  watch,  gilt  metal  enameled 

32 


with  scroll,  leaf  and  flower  work  in  black 
and  white;  the  faces  of  crystal  engraved 
with  scroll  and  flower  work.  Nineteenth 
century. 

LORENTZ  ENGELBRECHT,  IN  WIEN. 

80  Cruciform  watch  of  crystal  and  gilt  metal; 
sides,  dial  and  upper  plate  enameled  in  color; 
the  latter  pierced  with  emblems  of  the  Pas¬ 
sion.  Nineteenth  century. 

NO  NAME. 

8 1  Metal  watch  on  stand  enameled  in  colors;  the 
shaft  a  figure  of  Diana;  the  base,  showing 
figure  scenes,  rests  on  three  helmet-headed 
scroll  feet;  the  finial  a  parrot;  the  dial  plate 
in  gold  with  colored  enamel  scrolls;  the 
back  shows  two  female  figures  decorating 
a  statue  of  a  satyr,  the  sides,  scroll,  flower 
and  leaf  work.  Vienna.  Nineteenth  cen¬ 
tury. 

NO  NAME. 

82  Metal  watch  set  in  colored  enamel  cup  with 
cover;  the  stem  a  female  figure  carrying 
two  children;  the  finial  of  cover  a  rooster; 
the  cover  and  base  show  lunettes  of  pastoral 
scenes  with  a  single  figure  in  each,  between 
red  diapered  translucent  enamel;  the  dial 
Mars  and  Cupid  on  clouds.  Vienna.  Nine¬ 
teenth  century. 


33 


NO  NAME. 

83  Oval  gold  snuff-box,  the  sides  with  four 
panels  of  gold  fleur-de-lys  on  a  ground  of 
royal  blue  translucent  enamel,  rayed,  be¬ 
tween  double  cyphers  L  under  a  crown  of 
applied  vari-colored  gold  and  silver;  the 
lid  and  bottom  of  rayed  blue  enamel  with 
gold  fleur-de-lys;  in  the  centre  of  the  lid  a 
miniature  portrait  of  Marie  Antoinette  sur¬ 
rounded  with  sparks;  the  thumb-piece  a 
wreath  of  lilies  in  applied  gold,  set  with  a 
diamond,  rubies,  emeralds  and  sparks,  the 
leaves  continued  round  the  lid  in  applied 
gold.  Paris.  Late  eighteenth  century. 

NO  NAME 

84  Gold  watch  set  in  an  enameled  butterfly, 
jeweled;  the  front  of  blue  enamel,  with  a 
flower  pattern  in  gold  and  white.  Paris. 
Nineteenth  century. 

SANCELE  ,  PARIS 

85  Star-form  watch  of  crystal  and  gilt  metal, 
pierced;  the  sides  and  dial  enameled  in  colors. 
Nineteenth  century. 

MEYNADIER,  GENEVA 

86  Gold  watch  set  in  the  base  of  an  Egyptian  lyre 
richly  enameled  in  colors,  the  strings  held 
in  position  by  practical  keys,  the  neck 
terminating  in  a  wolfs  head.  The  surface 
of  the  drum  is  perforated  with  a  star  and 


34 


crescent  and  shows  two  floating  cupids 
in  white  enamel  on  a  blue  field.  Nine¬ 
teenth  century. 

JOHANN  OLEGN1K  IN  WIEN 

87  Large  cruciform  watch,  gilt  metal  pierced 
and  enameled  with  scroll  and  leaf  work  in 
colors;  the  faces  set  with  crystal  and  lapis- 
lazuli.  Nineteenth  century. 


6  0534 


GETTY  CENTER  LIBRARY 

NK  7483  H43  H85 

c  i  Howard.  Hendell  Stan 

Collection  of  watches  loaned  to  the  Metr 


MAIN 


3  3125  00257  8652 


